1. Goal: controlled expression of passion wrapped mystically
2. Issues to overcome: distinguish different colors and touches; balance of left hand and right hand parts; smooth handover between left hand and right hand to clearly embosses the melody line
3. Practice tips:
・right fingering with wrist rotation effectively employed
・acrobatic mechanic in controlled and restrained intensity
4. Recommended recordings: Larrocha, Okada, Fukuma
2009/01/30
Practice note - Beethoven, op.111, 1st mov.
1. Goal: utmost energy with outburst of unrestrained emotions
2. Issues to overcome: energetic, not mechanical, passages of 16th and the dynamic range exploited
3. Practice tips:
* fingering should be devised for expression, not ease of playing, prioritized
* subject motive clearly stand out with rapid streams of passages in background
4. Recommended recordings: Arrau, Brendel, Yukiko Tanaka, Kempf
2. Issues to overcome: energetic, not mechanical, passages of 16th and the dynamic range exploited
3. Practice tips:
* fingering should be devised for expression, not ease of playing, prioritized
* subject motive clearly stand out with rapid streams of passages in background
4. Recommended recordings: Arrau, Brendel, Yukiko Tanaka, Kempf
Practice note－Haydn, Hob:XIV-52, 1st
1. Goal: amalgamation of grandiosity and delicacy
2. Issues to overcome: clear yet deep tones of harminies and evenness and leggiero of passages in 32th 3. Practice tips:
* utmost flexibility of wrists to grasp harmonics
* play rapid passages in continuum, chunks
4. Recommended recording: Kissin in London (live)
2. Issues to overcome: clear yet deep tones of harminies and evenness and leggiero of passages in 32th 3. Practice tips:
* utmost flexibility of wrists to grasp harmonics
* play rapid passages in continuum, chunks
4. Recommended recording: Kissin in London (live)
Performance that wins in competitions
Simply put, maybe too simplistic, it is a performance that is intricately built out and performed, not only on the stage, of course, but that construction began even before the performer even came to know that particular piece.
That is easier said than done, because there it requires passion, aspiration, yet also patience and persistence, and above all, the love of the game.
If you pursue to eliminate anything that is rough or unintelligent from every aspect of your performance, from every note, at any time, it would surely bring you a great enjoyment of performance, and anything beneficial for you might accompany that as well.
I do not say you can be number one because piano playing should not be monodimensional, but surely it would add great value to your life if you practice it over a sustained span of time, which I'm struggling to, and has just begun to, practice after a long years of wasteful practices, which, on looking back, may not be a loss after all...
That is easier said than done, because there it requires passion, aspiration, yet also patience and persistence, and above all, the love of the game.
If you pursue to eliminate anything that is rough or unintelligent from every aspect of your performance, from every note, at any time, it would surely bring you a great enjoyment of performance, and anything beneficial for you might accompany that as well.
I do not say you can be number one because piano playing should not be monodimensional, but surely it would add great value to your life if you practice it over a sustained span of time, which I'm struggling to, and has just begun to, practice after a long years of wasteful practices, which, on looking back, may not be a loss after all...
Deadly sin is the wrong notes
Definition of "wrong notes": simply creating the note that is different from what is supposed to be the "right note". Narrowly defined, it means only about the key, but broadly defined, it would encompass intensity and tone or tonal quality.
Because each note (or tone in broad sense) is an indispensable component of musical performance, the wrong note is in every sense the things that should be avoided first and foremost, and failing to do that is the deadliest sin of all.
In order to avoid wrong notes, we must first nail down their causes. They are:
1. the performer does not have a clear understanding and thus picture of the right note
2. the performer fails to pay attention to every note
3. the performer left it to chance whether his or her touch would create the right note or not (probabilstic or gamble-like playing, I dare call it)
Countermeasures woule be:
1. full grasp of the positioning and meaning of each as a vital component of the whole through rigorous analyses and imaginations
2. on top of 1., pay particular attention in parctice and public performance as well to the priority notes and those who tend to lose attention by the performer. It requires not only concentration but also the flexibility and independence of all fingers so that the preceding finger motion does not constrain the suceeding motion and other physical aspects as well. Fundamentals of scales and arpeggios are indispensable to automate the group of notes played correctly through persistent and stedy practice would help this dimension a lot
3. in particular for those notes in sequence that require travelling distance, correct use of arms and body would also be needed in a coordinated way, let alone the travel needs to be the one with shortest distance without any abrupt and discontinuous motion, and placing the fingers just a split second before they touch the keys
... not every one of them is easier said than done, but the whole boils down to creating the beauty of sounds and any aspiring pianist, amateurs and professionals alike, should pursue them at all cost.
Because each note (or tone in broad sense) is an indispensable component of musical performance, the wrong note is in every sense the things that should be avoided first and foremost, and failing to do that is the deadliest sin of all.
In order to avoid wrong notes, we must first nail down their causes. They are:
1. the performer does not have a clear understanding and thus picture of the right note
2. the performer fails to pay attention to every note
3. the performer left it to chance whether his or her touch would create the right note or not (probabilstic or gamble-like playing, I dare call it)
Countermeasures woule be:
1. full grasp of the positioning and meaning of each as a vital component of the whole through rigorous analyses and imaginations
2. on top of 1., pay particular attention in parctice and public performance as well to the priority notes and those who tend to lose attention by the performer. It requires not only concentration but also the flexibility and independence of all fingers so that the preceding finger motion does not constrain the suceeding motion and other physical aspects as well. Fundamentals of scales and arpeggios are indispensable to automate the group of notes played correctly through persistent and stedy practice would help this dimension a lot
3. in particular for those notes in sequence that require travelling distance, correct use of arms and body would also be needed in a coordinated way, let alone the travel needs to be the one with shortest distance without any abrupt and discontinuous motion, and placing the fingers just a split second before they touch the keys
... not every one of them is easier said than done, but the whole boils down to creating the beauty of sounds and any aspiring pianist, amateurs and professionals alike, should pursue them at all cost.
Practice note - Schumann, Toccata Op.7
1. Goal: express the drive with unceasing motions in polyphonic harmony
2. Issue to overcome;
- balance of intensity between different voices
- changes in colors due to harmonic movements
3. Practice tips:
- flexibility of wrists in octaves, ninth, and tenth
- right fingering that enables smooth movements
4. Recommended recordings: S. Richter, M. Stadtfeld
2. Issue to overcome;
- balance of intensity between different voices
- changes in colors due to harmonic movements
3. Practice tips:
- flexibility of wrists in octaves, ninth, and tenth
- right fingering that enables smooth movements
4. Recommended recordings: S. Richter, M. Stadtfeld
2009/01/29
Practice note - J.S.Bach, WTC II-22
1. Goal: express solemnness and grandiose scale exploiting counterpoint potential in modern piano
2. Issues to overcome: control delicate touch as required at the right point
3. Practice tips:
- pursue finger pedalling proficiency
- pursue stereophonic harmony with full understanding of motives and their development
2. Issues to overcome: control delicate touch as required at the right point
3. Practice tips:
- pursue finger pedalling proficiency
- pursue stereophonic harmony with full understanding of motives and their development
2009/01/28
Practice note - Debussy, Etude #2 "for thirds"
1. Goal: diverse faces of flowing water gently and rather wildly at times
2. Issues to overcome: smooth and delicate thirds of both right and left hands with clear melody lines with distinct shifts in colors
3. Practice tips:
* fingering, fingering, fingering
4. Recommended recordings: Pollini, Hiromi Okada
2. Issues to overcome: smooth and delicate thirds of both right and left hands with clear melody lines with distinct shifts in colors
3. Practice tips:
* fingering, fingering, fingering
4. Recommended recordings: Pollini, Hiromi Okada
Practice note - Rachmaninoff, Moments Musicaux, op.16, No.2
1. Goal: irrestible sorrow from the bottom of heart
2. Issues to overcome: clear melody line by right hand octaves and incessant and leggiero interweaving passages by both hands with right balance of sound volume
3. Practice tips:
* left hand only practice with flexible thumb
* deep and clear right hand octaves with flexible wrist and natural weighting
4. Recommended recording: Lugansky, Hemlin
2. Issues to overcome: clear melody line by right hand octaves and incessant and leggiero interweaving passages by both hands with right balance of sound volume
3. Practice tips:
* left hand only practice with flexible thumb
* deep and clear right hand octaves with flexible wrist and natural weighting
4. Recommended recording: Lugansky, Hemlin
Practice note - Chopin, Etude op.10-2
1. Goal: eeriness of supernatural being like a wind blowing
2. Isssues to overcome: utmost smoothness of legatissimo with weak fingers of right hand accentuated by (but with delicacy) of chords marked by both hands perfectly timied
3. Practice tips:
* follow Maestro Cortot's suggestions on sequence to achieve legato with the weak fingers of the right hand
* flesibility of the right thumbs maintained throughout
* weight center of the right hand shifted outward
* steady yet elegant movement of left hand chords
4. Edititions: Cortot's
5. Recommended recordings: Pollini, Yukio Yokoyama, Lugansky, Hiromi Okada, Claire Huangci (YouTube)
2. Isssues to overcome: utmost smoothness of legatissimo with weak fingers of right hand accentuated by (but with delicacy) of chords marked by both hands perfectly timied
3. Practice tips:
* follow Maestro Cortot's suggestions on sequence to achieve legato with the weak fingers of the right hand
* flesibility of the right thumbs maintained throughout
* weight center of the right hand shifted outward
* steady yet elegant movement of left hand chords
4. Edititions: Cortot's
5. Recommended recordings: Pollini, Yukio Yokoyama, Lugansky, Hiromi Okada, Claire Huangci (YouTube)
2009/01/19
listen, listen, and listen with blank slate of mind
Music has not limit in scale and depth in the first place.
Piano as an instrment has evolved successfully over time to expand and exploit its potential to the fullest.
What I want to do is simply to experience the performances without any preconceptions, biases, or any sense that inhibits the joy of the experience.
Piano as an instrment has evolved successfully over time to expand and exploit its potential to the fullest.
What I want to do is simply to experience the performances without any preconceptions, biases, or any sense that inhibits the joy of the experience.
2009/01/06
Beten Piano Competition Award Winners' Concert
With such a short notice (because the competition itself has just been finished!), let me post an ad here for the concert I'd participate below:
The 2nd Beten Piano Competition Award Winners' Memorical Concert
Date and Time: Sunday, Jan. 8, 2009; 11:00- (1st part), 15:00- (2nd part)
Venue: Katsushika Symphony Hills, Mozart Hall (capacity: 1,300+ seats)
My performance will be in the 2nd part, around 16:00, although the program is not yet finished...
I dare to play a piece different from what I played at the Final, for the fist public performance for that particular piece : p
The 2nd Beten Piano Competition Award Winners' Memorical Concert
Date and Time: Sunday, Jan. 8, 2009; 11:00- (1st part), 15:00- (2nd part)
Venue: Katsushika Symphony Hills, Mozart Hall (capacity: 1,300+ seats)
My performance will be in the 2nd part, around 16:00, although the program is not yet finished...
I dare to play a piece different from what I played at the Final, for the fist public performance for that particular piece : p
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